by Gillian Flynn
Did smirking Nick Dunne kill his gorgeous, albeit pampered, young wife? As I read for clues, the plot twists kept coming but I persevered … persevered … persevered – stop. Alas, about two thirds into the story, Gone Girl lost me.
Flynn’s mindbender is peppered with clever asides about marriage, co-dependence, and the perils of marrying a sociopath, but it’s also decidedly lacking in sympathetic characters; if her people aren’t flat-out crazy, then they’re something conceivably worse: relentlessly cynical. But we all love a good villain, and the cat-and-mouse shenanigans between the less-than-perfect Dunnes are often delicious (imagine Nick and Nora Charles with homicidal streaks). The problem here is plot: There are simply too many “yeah, right” moments.
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